For as long as she can remember, Lady Adriana Sutton has adored Colton Wyndham, to whom she has been promised by an agreement of courtship and betrothal since childhood. As a young girl, she was wounded by Colton's stubborn refusal to comply with his father's wishes and by his angry departure. He was too proud and too stubborn to accept a future not of his own choosing. Rather than submit, he fled from his ancestral home for a life of adventure and danger as an officer in the British army. The years have been immensely kind to Lady Adriana. No longer the plain, thin tomboy Colton had spurned, she has blossomed into an uncommon beauty desired by nearly every eligible bachelor in the land. Yet the only man she desires is the decorated hero who has finally come home to claim his rightful title. Arrogant, unmoved, and seductive as ever, he remains averse to the idea of their betrothal in spite of his growing desire for her. To demonstrate his belief that love cannot be forced, Colton agrees to court Lady Adriana for ninety days, after which time he will be allowed to keep his precious freedom if he so wishes. But much has changed since he balked at his father's plans. Forced into a courtship with this stunning, spirited woman, who is as different today from the young chit he left behind as spring is to winter, the heroic heart that was once closed to Adriana is moved by her charm, her grace, and her sensuality ... and begins to yield. But a secret from Colton's past may doom their burgeoning love ... even as the treacherous schemes of a sinister rival threaten to steal the remarkable lady from his arms forever. A lush and spellbinding story of passion and betrayal that grandly sweeps the reader into the magnificent ballrooms and intimate boudoirs of Regency England, The Reluctant Suitor is romance as only the incomparable Kathleen Woodiwiss can deliver it -- a love story that will dwell in the reader's heart and memory forever and stand proudly as one of the author's very best.

'Muse, tell me of a man: a man of much resource, who was made to wander far and long, after he had sacked the sacred city of Troy. Many were the men whose lands he saw and came to know their thinking: many too the miseries at sea which he suffered in his heart, as he sought to win his own life and the safe return of his companions.' Recounting the epic journey home of Odysseus from the Trojan War, The Odyssey - alongside its sister poem The Iliad - stands as the well-spring of Western Civilisation and culture, an inspiration to poets, writers and thinkers for thousands of years since. This authoritative prose translation by Martin Hammond brings Homer's great poem of homecoming to life as Odysseus battles through such familiar dangers as the cave of the Cyclops, the call of the Sirens and his hostile reception back in his native land of Ithaca.

The archaic context of vengeance -- Vengeance in the Odyssey: tisis as narrative -- Three narratives of divine vengeance -- Odysseus' terrifying revenge -- The multiple meanings of Odysseus' triumphs -- The end of the Odyssey.

The Odyssey's larger plot is composed of a number of distinct genres of myth, all of which are extant in various Near Eastern cultures (Mesopotamian, West Semitic, and Egyptian). Unexpectedly, the Near Eastern culture with which the Odyssey has the most parallels is the Old Testament. Consideration of how much of the Odyssey focuses on non-heroic episodes - hosts receiving guests, a king disguised as a beggar, recognition scenes between long-separated family members - reaffirms the Odyssey's parallels with the Bible. In particular the book argues that the Odyssey is in a dialogic relationship with Genesis, which features the same three types of myth that comprise the majority of the Odyssey: theoxeny, romance (Joseph in Egypt), and Argonautic myth (Jacob winning Rachel from Laban). The Odyssey also offers intriguing parallels to the Book of Jonah, and Odysseus' treatment by the suitors offers close parallels to the Gospels' depiction of Christ in Jerusalem.

This book takes a fresh look at a familiar element of the Homeric epics - the poetic catalogue. It shows that in a variety of contexts, Homer uses catalogue poetry not only to develop his themes, but to comment on the ideals and limitations of the epic genre itself.

The poet of the Odyssey was a seriously flawed genius. He had a wonderfully inventive imagination, a gift for pictorial detail and for introducing naturalistic elements into epic dialogue, and a grand architectural plan for the poem. He was also a slapdash artist, often copying verses from the Iliad or from himself without close attention to their suitability. With various possible ways of telling the story bubbling up in his mind, he creates a narrative marked by constant inconsistency of detail. He is a fluent composer who delights in prolonging his tale with subsidiary episodes, yet his deployment of the epic language is often inept and sometimes simply unintelligible. The Making of the Odyssey is a penetrating study of the background, composition, and artistry of the Homeric Odyssey. Martin West places the poem in its late seventh-century context in relation to the Iliad and other poetry of the time. He also investigates the traditions that lie behind it: the origins of the figure of Odysseus, and folk tales such as those of the One-eyed Ogre and the Husband's Return.